All Things Live continues acquisition spree in Norway
All Things Live is strengthening its foothold in Norway with the acquisition of Oslo-based event agency All-In.
The deal comes weeks after All Things Live purchased one of Norway’s largest independent festival organisers, HES.
The group’s Norwegian business already spans booking, promotion, events, comedy and festival activities via subsidiaries Stageway, Komon Stageway, Latter and Stand Up Norge.
All-In was founded in 2017 by Jens Nesse, Jan Fredrik Karlsen and Petter Stordalen and now employs 10 people to work with corporate events, concerts and conferences for Norwegian and international customers.
In 2022, All-In had revenues of NOK 133 million (€9.9m) and NOK 15 million (€1.3m) in profits.
“We are proud of what we have achieved in All-In,” says Jens Nesse, co-founder and CEO of All-In. “After founding the company in 2017, the business has grown to become what we dreamt of. Becoming part of a family as ambitious as All Things Live will provide us with even more fuel to accelerate in the coming years.”
“We will gain a stronger foothold in an important market, enabling us to create even more unique experiences”
“We have found everything we were looking for in All Things Live. Loads of experience, great enthusiasm and a wide range of competencies. It is a powerful team with great resources within our field. What is not to like?” adds co-founder of All-In, Jens Fredrik Karlsen.
Gry Mølleskog, CEO of All Things Live Norway and the All Things Live Group: “The acquisition of All-In strengthens All Things Live’s position in the event market in Norway. In combination with our ownership of Komon-Stageway, we will gain a stronger foothold in an important market, enabling us to create even more unique experiences for our customers.
“The competencies in these two great event companies combined with the strong teams in Latter and Stand Up Norge, Komon-Stageway and HES will make All Things Live an even more attractive partner in the Norwegian event industry.”
In the last 12 months, the All Things Live group has acquired Agents After All (the Netherlands), Musickness (Belgium), Radar Concerti (Italy) and Amaze Festival (Sweden), alongside HES and All-In.
Since the Nordic group was founded by Waterland Private Equity in 2018, it has expanded to seven European countries and 19 companies, with offices in Oslo, Stockholm, Helsinki, Copenhagen, Brussels, Milan and Amsterdam.
The company’s portfolio ranges from musical productions to music festivals and standup events to stadium concerts, with The Rolling Stones, Eminem, Katy Perry and Rammstein among its clients.
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All Things Live buys Norwegian promoter HES
All Things Live has acquired one of the largest independent festival organisers in Norway, HES.
Founded in 2010, the Oslo-based company is a full-service provider of festival organisation and operations.
HES’s 13-strong team is involved in festivals including Verket, Drøbakfestivalen, Hvalstrandfestivalen, Sarpsborgfestivalen, Lillehammer Live and Haikjeften, as well as music venue Verket Scene.
The acquisition sees All Things Live’s footprint in Norway expand to cover booking, promotion, events, comedy and festival activities via subsidiaries Stageway, Komon Stageway, Latter and Stand Up Norge.
“The HES team has built a strong business with clear growth prospects on the back of proven capabilities within festival organisation and operations,” says Gry Mølleskog, CEO of All Things Live Group.
“Since 2010, the team has established several successful festivals entertaining thousands of people every year, and we are pleased to welcome HES as part of All Things Live in Norway with a view to developing the business and accelerating the positive developments in the years ahead.”
“The HES team has built a strong business with clear growth prospects”
The management team – consisting of CEO Hans Petter Haaland and head of market Erle Strøm – and the organisation of HES remain unchanged, and existing contracts and customer relationships are not affected by the transaction. The current owners of HES become partners and co-owners of All Things Live.
“We are thrilled to team up with All Things Live and look forward to collaborating closely with a leading and respected European live entertainment player to build on our successes in Norway and create even greater live experiences for our audiences together,” says Hans Petter Haaland, CEO of HES.
“For more than a decade, we have organized and run more than 50 festivals and promoted many of Scandinavia’s best artists, and we will continue to do so with an even stronger organization as part of the All Things Live partnership.”
In the last 12 months, the All Things Live group has acquired Agents After All (the Netherlands), Musickness (Belgium), Radar Concerti (Italy) and Amaze Festival (Sweden).
Since the Nordic group was founded by Waterland Private Equity in 2018, it has expanded to seven European countries and 19 companies, with offices in Oslo, Stockholm, Helsinki, Copenhagen, Brussels, Milan and Amsterdam.
The company’s portfolio ranges from musical productions to music festivals and standup events to stadium concerts, with The Rolling Stones, Eminem, Katy Perry and Rammstein among its clients.
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2023 lineups: Øya, Flow, Hurricane & Southside
Øya (NO), Flow (FI), Hurricane & Southside (DE), Paaspop (NL) and Welcome To Rockville (US) are the latest festivals to beef-up their 2023 festival line-ups.
Norway’s Øya festival has detailed its gender-balanced line-up for 2023, which includes Sigrid, FKA Twigs, Caroline Polachek, Amyl and the Sniffers, Devo, Håkan Hellstrom, Shygirl and TV Girl.
The Superstruct-backed festival, which will return to Oslo’s Tøyenparken between 8–12 August, will once again put sustainability at the forefront of its operation.
The site operates free of fossil fuels, with 98% of its power being renewable and all construction machinery is run on biofuel.
That approach is also applied to everything from recycling (75% of all waste is recycled, having been sorted by hand) to travel (98% of attendees arrive by bike, foot or public transport).
The Øya site operates free of fossil fuels, with 98% of its power being renewable
Superstruct’s Flow Festival has also revealed the first acts for next year’s edition in Helsinki, Finland, between 11 and 13 August.
FKA Twigs, Caroline Polachek, Suede, Devo, Amyl & The Sniffers, Shygirl, Jockstrap, 070 Shake and more will perform at the culture, music, arts and debate festival in the post-industrial area of Suvilahti.
In Germany, the 2023 editions of FKP Scorpio’s flagship festivals, Hurricane and Southside, are beginning to take shape.
Billy Talent, Muse, Die Ärzte, Kraftklub, Placebo, Casper, Peter Fox and Queens Of The Stone Age will top the bill for the twin events, which this year sold-out and attracted 150,000 attendees.
Southside and Hurricane will return to Neuhausen ob Eck and the Eichenring motorcycle speedway in Scheessel, respectively, between 16 to 18 June 2023.
Danny Wimmer Presents unveiled the line-up for its longest-running annual festival
In neighbouring country, the Netherlands, The Event Warehouse is putting the final touches on Paaspop 2023.
Limp Bizkit today (15 December) joined next year’s line-up which already included 90 names including Antoon, Armin van Buuren, Calum Scott and Danny Vera.
Davina Michelle, De Staat, dEUS, DI-Rect, Flemming, George Ezra, Goldband, Reinier Zonneveld, Rondé, S10, Son Mieux and Triggerfinger are also lined up for the festival, scheduled for 7–9 April 2023 at De Molenheide in Schijndel.
Also today, Danny Wimmer Presents unveiled the line-up for its longest-running annual festival, Welcome To Rockville (US).
Tool, Slipknot, Avenged Sevenfold, Pantera, Deftones, Rob Zombie, Godsmack, Queens of the Stone Age, Evanescence and Incubus are the first name to be announced for the 12th edition.
The event will return to Daytona International Speedway In Daytona Beach, Florida, between 18–21 May 2023. This year’s edition brought together 150,000 fans.
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The New Bosses 2022: Vegard Storaas, Live Nation Norway
The 15th edition of IQ Magazine’s New Bosses was published in IQ 114 this month, revealing 20 of the most promising 30-and-unders in the international live music business.
To get to know this year’s cohort a little better, IQ conducted interviews with each one of 2022’s New Bosses, discovering their greatest inspirations and pinpointing the reasons for their success.
Catch up on the previous New Bosess 2022 interview with Stella Scocco, club and entertainment manager of Södra Teatern in Sweden. The series continues with Vegard Storaas, promoter at Live Nation Norway.
Storaas started booking student festivals as well as being an agent for up-and-coming artists while in college. After college, he secured a job at Music Norway, an export office that helps Norwegian artists in international markets. In 2016, he joined Live Nation where he spent the first three years in a team with Martin Nielsen before becoming a promoter in 2019.
As a promoter, Storaas has worked on building the company’s portfolio of urban and regional festivals. One of the highlights has been NEON festival, a pop festival that started in 2022 that sold 18,000 tickets for each day.
From the very beginning at Live Nation, Storaas has looked to identify opportunities with unfulfilled potential in the market. One of these is country music, which is growing internationally and which punches above its weight in Norway. After two years of rescheduling, Storaas finally got to promote two arena shows for American country singer and songwriter Brad Paisley this summer, which sold 20,000 tickets.
At college, you were booking festivals as well as representing emerging talent. How did you learn those skills and who did you turn to for advice?
The short answer is I didn’t. It was learning by doing all the way. I picked up a few things from former students and the Internet (surprisingly there is a lot to learn from interviews and articles) and went with my gut. It felt a bit like steering a rollercoaster built by non-graduated students.
I had a teacher at university that I turned to for advice. He used to work in the industry as a promoter and manager so he knew a lot. He was good at pointing me in the right direction when I was in deep water, which by my (and probably his) recollection, was pretty often.
You worked at Music Norway for a while. Are there any areas where you think the commercial live music industry could work better with export offices?
Export offices like Music Norway use a lot of resources to help the industry build networks in the main export markets. That is crucial for success. Meanwhile, there are several commercial companies like Live Nation and FKP Scorpio that have offices across Europe and North America and close working relationship with colleagues in the most important markets.
Let’s say a major label and a global promoter in a small market such as Norway made a coordinated push on an emerging talent through its respective systems. If it happened simultaneously, I think chances are that this artist would break the surface and have something good to build on. It’s not as easy as it sounds, but I think there are some unfulfilled synergies that haven’t been really exploited in that space.
“We had a whole pandemic to come up with the plan [for Neon festival], now we have to prove we can stay”
Launching a pop festival like NEON in an uncertain marketplace was a risk. Just what made the event such a success?
Several factors I’d say. We had the festival on the first weekend of June, the same day as the last exam for students (Trondheim – where NEON takes place – is the most popular city in Norway for students). It effectively became the event that kicked off the summer. Our line-up was made up of only domestic talent, which was deliberate. With quarantine and different Covid rules in every country when we launched, our thinking was that it would feel safer buying tickets for domestic artists.
By on-sale, it had been over two years since the domestic artists that normally sell lots of tickets had played restriction-free shows. Naturally, there was extra demand in the market and this I think accumulated in NEON, being first out. Also worth mentioning is Karpe, our main headliner, who recently sold 110,000 tickets in Oslo. We had several great urban acts lower on the bill that together with Karpe created a strong package.
2023 will be like a second album; we had a whole pandemic to come up with this plan, now we have to prove we can stay.
Your shows with Brad Paisley prove that there is a strong demand for country music in Norway. Are there any festivals in the pipeline?
Can’t say I haven’t thought about it. There might be a market for it. But there are some challenges, too. Country music doesn’t have the same position in every European market. The interest varies significantly, and historically that has made it difficult to build a festival tour that makes sense for American superstars. The festivals that exist are spread out in period, size, and profile; some are domestic talent-leaning, others focus on Americana etc.
Many big country artists come to Europe to build a broader audience and want to play contemporary festivals rather than traditional country music festivals. So, even if there is a country festival, a wish-list headliner might want to do Glastonbury instead. Taking all this into account, country in Europe is not the easiest, but let’s see what the future holds.
“The live industry in Norway is a lot more than Oslo and new talent”
And what about other musical genres – are you looking at other gaps in the market for shows?
There is a running joke in the office that I have music taste as if I were in my late 60s. I laugh but it’s a bit true. Many of the artists I discovered while searching through my father’s record collection in my youth fascinate me as a promoter. First and foremost because it’s good music and great musicians but also because there is a market for these artists. Fans are loyal and have got purchasing power. The live industry in Norway is a lot more than Oslo and new talent, and while we remind ourselves of that, I think some of these legacy artists are left behind.
It’s been impossible to navigate this space without help from my very good colleagues, Rune Lem and Martin Nielsen, that I learn something from every day. If I could be half the promoter that they are, I would be happy with my career.
As a new boss, what one thing would you change to make the live entertainment industry a better place?
Free the music industry from TikTok! It’s a good question. The truth is that it’s probably several things that should be changed to make it a better place. Our peak season just passed, and there is no doubt that everybody has been working full speed this summer. We have been out of practice, which has required extra time and energy on the same tasks. It hasn’t come without a cost. I see many [people] are worn out and tired after these months.
During Covid our industry paused and many people started reflecting on their jobs. Some realised that they had been in a hamster wheel for too long, so they quit. The lifestyle wasn’t healthy. If the industry doesn’t create systems to avoid constant overload, where it’s not just about keeping your head above water, I’m afraid more good people with great skills will quit, too. Professional and highly qualified workers are key to any success. I think we all have seen recent examples from this summer where lack of experience led to disadvantages. We could learn from other workplaces and look at how more institutionalised industries do it. It’s crucial that we take care of our own.
“We could learn from other workplaces and look at how more institutionalised industries do it”
Having a good bond with agents and artist managers is crucial. How did you maintain contact with people during the pandemic, and do you feel that the working relationship between agents and promoters has changed over the past couple of years?
Pre-pandemic I travelled to the UK three or four times a year to meet agents, managers, and colleagues. For me, as a new promoter, these tours were very fruitful, and equally challenging when they suddenly stopped. Only rescheduling what was already in the pipeline didn’t help with the development [of relationships].
Now that we are back to normal, I am continuing where I left off pre-Covid as these relationships are super important. As a promoter, it’s about making the agents trust me as the right guy for their artist. But I don’t think the relationships between us have changed that much. It’s similar to how it’s always been: dealing, wheeling, beers, billing. That said, during the crisis, there was a rare feeling of companionship between agents and promoters, as we were all in it together. It would be fantastic if that kept going.
What one thing would you like artists to learn about coming to perform in Norway?
Norway is twice the length of the UK but has only half the population of London. We slide in at number 215 on population density and stand three metres away from each other while waiting for the bus. We love our freezing cabins with no plumbing and our dry humour. I guess we can be seen as a bit cold in the beginning. It takes time. It’s in our DNA. But once we warm to people, become friends and fans and you capture our hearts, there is a whole lot of love to give. Keep that in mind for next time. It’s not you, it’s us!
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The New Bosses: Introducing the class of 2022
The 15th edition of IQ Magazine‘s New Bosses can now be revealed, highlighting 20 of the most promising 30-and-unders in the international live music business.
New Bosses 2022 inspired the most engaged voting process to date, with hundreds of people taking the time to submit nominations. The final 20 comprises executives working across agencies, promoters, ticketing companies, charities and venues in 12 different countries.
In no particular order, the New Bosses 2022 are:
Benji Fritzenschaft, DreamHaus (DE).
Clara Cullen, Music Venue Trust (UK).
Dan Rais, CAA (CO).
David Nguyen, Rock The People (CZ).
Daytona Häusermann, Gadget ABC (CH).
Grant Hall, ASM Global (US).
James Craigie, Goldenvoice (UK).
Kathryn Dryburgh, ATC Live (UK).
Resi Scheurmann, Konzertbüro Schoneberg (DE).
Seny Kassaye, Fort Agency (CA).
Agustina Cabo, Move Concerts (AR).
Sönke Schal, Karsten Janke Konzertdirektion (DE).
Steel Hanf, Proxy Agency (US).
Steff James, Live Nation (UK).
Stella Scocco, Södra Teatern (SE).
Vegard Storaas, Live Nation (NO).
Lewis Wilde, DICE (UK).
Zoe Williamson, UTA (US).
Jonathan Hou, Live Nation (US).
Maciej Korczak, Follow The Step (PL).
Subscribers can read shortened profiles of each of the 2022 New Bosses in issue 114 of IQ Magazine, which is out now. Full-length Q&As will appear on IQ in the coming days and weeks.
Click here to subscribe to IQ for just £7.99 a month – or check out what you’re missing out on with the limited preview below:
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New GM for Norwegian promoters’ association
Siri Haugan Holden has been named the new general manager of Norway’s promoters’ association, Norske Konsertarrangøre (NKA).
She joins the organisation from Balansekunst, an association of over 100 Norwegian art and cultural organisation working for an equal and diverse cultural life, where she was GM.
Haugan Holden will take up office on 1 January 2023, replacing Tone Østerdal who has held the top job since 2018.
“I am very happy for the trust and the opportunity to be involved in further developing Norske Kulturarrangøre’s industry-wide work together with the talented group of staff and board,” says Haugan Holden.
NKA has set a membership record this year, and today represents around 480 cultural organisers from all over Norway
“The long-term effects of the corona pandemic, in combination with large price increases and a troubled world situation, make this a demanding time for cultural organisers.
“In the face of changing framework conditions, it becomes important to hold on to the uniqueness and societal role of art and culture, and I look forward to being an active player for the members in the time to come. Tone Østerdal has made a formidable effort for both NKA and the cultural field during her term of office, so it is with awe that I take on the task.”
NKA chairman Trude Storheim adds: “We are very happy to have hired Siri Haugan Holden, and we look forward to working together for an expanded and stronger NKA in the future. Haugen Holden is highly skilled and her experience and background are perfect for further developing the organisation towards our vision of a sustainable organising field.”
NKA has set a membership record this year, and today represents around 480 cultural organisers from all over Norway.
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Major Scandi festivals hail bumper comebacks
Last week saw some of Scandinavia’s best-known festivals welcome back record numbers of music fans.
Norway’s Øya Festival (Øyafestivalen) reported a total attendance of 88,000 over four days (or 22,000 per day) at this year’s sold-out edition, smashing its previous record of 80,000 in 2019.
The Superstruct-backed festival returned to Oslo’s Tøyen Park last week (9 and 13 August) with headliners Gorillaz, Florence + the Machine and Nick Cave and the Bad Seeds.
“The festival was fantastic,” Jonas Prangerød, press manger for Øya, tells IQ. “Artists, staff, volunteers and, of course, the audience enjoyed Øya finally being back. People came very early to the festival area and there was a good crowd for every band and artist.
“Both new talent and the big, established favourites impressed. I think a lot of people have got a few new favourite acts now. The warm weather suited Øya’s comeback really well. The whole week was as good as we could hope for.”
Sweden’s Way Out West also broke its own attendance record, drawing 50,000 unique visitors over three days (11–13 August) to its 2022 edition.
The Luger-promoted festival once again took over Gothenburg’s Slottsskogen city park, offering performances from the likes of Tame Impala, Beabadoobee and Fontaines D.C.
“The whole week was as good as we could hope for”
“Way Out West 2022 could not have ended up better,” Filip Hiltmann, marketing and communications manager for Way out West, tells IQ.
“After two years of silence, it felt great to finally be back in Slottsskogen doing what we do best. The sun was out the whole weekend (a rare phenomenon in Gothenburg!) and we experienced first-class sets from the likes of Burna Boy, Nick Cave & The Bad Seeds, First Ait Kit, Fred again… and many more. We can’t wait to be back next year, mark down 10–12 August 2023 in your calendars.”
Elsewhere in Scandinavia, Finland’s Flow Festival celebrated an attendance record of 90,000 over two days (12–14 August) or 30,000 per day.
The Superstruct-backed festival took place in the Finnish capital of Helsinki this past weekend (12–14 August), with performances from more than 160 acts including Jamie xx, Princess Nokia, Bikini Kill, MØ and Fred Again.
Notably, Gorillaz’s performance at Flow was the band’s first-ever appearance in Finland.
Next year’s Flow dates have already been set for 11–13 August, 2023, and a limited number of Super Early Bird tickets went on sale yesterday (15 August).
Other festivals that took place over the weekend, elsewhere in Europe, include Superstruct’s Sziget (Hungary), Follow The Step’s Fest Festival (Poland) and Boomtown Fair (UK).
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All Things Live promotes Norway’s biggest-ever gig
All Things Live has smashed the attendance record for a concert on Norwegian soil, hosting 60,000 fans at a Rammstein show.
The event took place on Sunday 24 June at Bjerke Travbane in Oslo and was the first-ever concert held at the horse racing track.
The previous attendance record was set by All Things Live subsidiary Atomic Soul with Eminem’s 2018 performance at Oslo Sommertid festival.
The rapper drew around 55,000 fans to the capital’s Voldsløkka sports stadium after tickets sold out in just six minutes.
Commenting on the Rammstein show, All Things Live Norway promoter Mark Vaughan says: “Bjerke Travbane was a fantastic venue to present this massive show. It doesn’t come any bigger than Rammstein and both band and crew were extremely happy after the show.”
All Things Live Norway has secured an exclusive agreement with Bjerke Travbane going forward, which will be the largest capacity arena in Norway.
“We have worked and invested a lot to make this venue compatible for the biggest artists in the world, now we have proved it works and we are looking forward to bringing stadium artists to Norway going forwards!” says Peer Osmundsvaag, All Things Live Norway.
“We are looking forward to bringing stadium artists to Norway going forwards”
News of the record-breaking concert comes as All Things Live announces yet another acquisition.
The private-equity-backed live entertainment group has sealed the deal with Stageway, a leading Norwegian live entertainment group that deals in artist management, booking and promoting.
The Bergen-based group’s activities are conducted via three companies: Stageway Talent, Komon Stageway and Stageway Teater.
Stageway Talent provides booking and promotion services across genres for a roster of more than 30 artists; Komon-Stageway delivers turnkey event solutions for large corporate customers and Stageway Teater produces comedy shows and acts as a management service provider for renowned Norwegian comedy duo Ylvis, among others.
Arne Svare, co-founder and CEO of Stageway, says: “We are so pleased to announce that we are joining forces with All Things Live to accelerate our joint business in Norway, the Nordics and beyond in the coming years. We have been part of the bustling live entertainment industry for four decades and known and respected the team behind All Things Live for years. Together, we will strengthen our offering to artists and customers while delivering even greater experiences for the audience.”
Knut Meiner, chairman and senior consultant of Komon-Stageway, adds: “Everyone in our companies have worked hard to build a strong reputation in the Norwegian market. We are absolutely thrilled to become part of a partnership, which is well-respected and shares our aspiration to grow the business based on deep understanding of the local market and a clear focus on bringing great live entertainment and fantastic corporate events to more people.”
“Stageway is a great business with fantastic talent, strong growth prospects and a perfect fit with our existing operations”
The management team and organisation of Stageway will remain unchanged, and existing contracts and customer relationships will not be affected by All Things Live’s acquisition of Stageway Talent, Komon-Stageway and Stageway Teater. In connection with the transaction, the current owners of the three companies become partners and co-owners of All Things Live.
“Stageway is a great business with fantastic talent, strong growth prospects and a perfect fit with our existing operations in All Things Live Norway. We are very pleased to welcome the great people behind Stageway who will contribute greatly to the development of our partnership in Norway and internationally,” says Kim Worsøe, member of the executive board of All Things Live Group.
Completion of the transaction is subject to regulatory approval by the Norwegian Competition Authority. The parties have agreed not to disclose the purchase price.
All Things Live has been on an acquisition spree in the past fortnight, this week enhancing its presence in Belgium with the addition of management company Musickness.
Last week, All Things Live signalled its expansion into the Italian market with the acquisition of promoter and agency Radar Concerti and also recently announced the signing of international management firm Then We Take The World.
All Things Live was established in 2018 as “the new independent market leader in Nordic live entertainment” following Waterland Private Equity’s acquisition of six leading Scandinavian promoters and agencies.
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Gry Mølleskog named Group CEO of All Things Live
Leading Nordic live entertainment company All Things Live has appointed Gry Mølleskog as group CEO, effective from 1 August.
In addition, she will also take on the role of country CEO for the All Things Live companies in Norway.
The Waterland Private Equity-backed company represents artists and promotes events in Denmark, Norway, Sweden, Finland and Belgium.
“All Things Live is one of the most exciting companies in live entertainment in Europe,” says Mølleskog. “The group is well-positioned for further growth, and I look forward to building on this strong foundation together with the ambitious owners.”
Mølleskog boasts more than 30 years of experience, which includes management and board positions in Nordic and international companies.
“All Things Live is one of the most exciting companies in live entertainment in Europe”
She currently serves as Lord Chamberlain (CEO) of the Royal Court of Norway where she previously worked in chief of staff positions for a total of seven years.
Other former positions include senior client partner with recruiter Korn/Ferry International and various management roles at SAS where she was senior vice president and part of the executive management team from 1998 to 2003.
Current group CEO Kim Worsøe will continue as a member of the All Things Live Group board of directors and will focus on the company’s expansion in Europe including acquisitions and artist relations across the group.
“All Things Live has seen tremendous growth over the last three years and is today in a great position to continue this positive development,” says Worsøe. “I am confident that Gry Mølleskog will be a strong addition to the organisation and able to support our future growth journey and I look very much forward to working together with her.”
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FKP Scorpio Norway hires promoter Tim Salvesen
FKP Scorpio Norway has bolstered its international department with the addition of experienced promoter Tim Salvesen.
Salvesen has six years’ experience as a promoter with All Things Live, having worked with artists such as Dave, Phoebe Bridgers, Mac DeMarco, Jacob Collier, Black Midi, Whitney, Rufus Wainwright, Ezra Collective, Priya Ragu, Clairo, Jimmy Eat World, KSI, Soccer Mommy, Slowthai and Snail Mail.
“FKP Scorpio Norway is continuing to grow, and I’m delighted that my former colleague Tim Salvesen has decided to join us,” says head promoter Stian Pride. “I have been really impressed by how quickly he’s developed as a promoter, and I’m confident that our office is the perfect place for him to take further strides forward.
“Tim has always been on the front foot when it comes to discovering, working with, and developing emerging talent. This is central to how we work at FKP Scorpio, and we’re certain that Tim will be a perfect fit here – professionally, but also on a human level.”
“His talent to discover and develop new artists and his personality as a promoter fit well into our company ethics and values”
International artists promoted by FKP Scorpio Norway include Bon Iver, Band of Horses, Hans Zimmer, The National, Big Thief, Tash Sultana, Snoop Dogg, Fontaines DC, Daniel Nogren, Sparks, Nils Frahm, Colter Wall, Shame and Weyes Blood.
“I am very happy to welcome Tim in the FKP Scorpio team,” adds Folkert Koopmans, CEO of FKP Scorpio Group and winner of Festival Organiser’s Organiser at last week’s 2022 Arthur Awards. “His talent to discover and develop new artists and his personality as a promoter fit well into our company ethics and values. Also, Tim and his artist roster are a valuable addition to our international booking team.”
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